About this Show

Charlie Rose

News/Business. (2013) New. (CC) (Stereo)

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PBS

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01:00:00

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San Francisco, CA, USA

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Comcast Cable

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Channel 15 (129 MHz)

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mpeg2video

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ac3

PIXEL WIDTH
528

PIXEL HEIGHT
480

TOPIC FREQUENCY

Us 16, Boston 13, Charlie 6, New York City 5, Alec Baldwin 4, Phillip 4, Lorne 3, Alec 3, New York 3, Ray Kelly 3, Harold 3, Lauren 2, The F.b.i. 2, Taylor 2, Pimental 2, Jonathan Elias 2, L.a. 2, London 2, Nbc 1, Ughs 1,
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  PBS    Charlie Rose    News/Business.   
   (2013) New. (CC) (Stereo)  

    April 17, 2013
    11:00 - 12:00am PDT  

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>> rose: welcome to the program. we begin our coverage of the tragedy in boston with jonathan elias. he is an anchor with the cbs affiliate wbz in boston. >> the first blast goes off and it was right in front of us. literally right across and the street and the percussive nature of this bomb shook all o us. you flinch and duck and then you look up and see this huge cloud of white smoke coming off the sidewalk and we froze. everyone around us froze. and then the second bomb within a matter of seconds goes off and you knew. then you knew exactly what was happening so we started making our way toward that initial blast and, you know, i've got to be honest, i was in a complete
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state of shock and in my head i wasn't processing things. it was almost as though time was slowing down. >> rose: we continue with ray kelly, police commissioner of new york city. >> the more complex the plot, the more likely it is you're ing to have intelligence information, the more moving parts there are to a scheme that you have a greater chance of getting intelligence. but an individual or small group does it you may not get any advanced notice. >> rose: finally we conclude with a change of pace. a consideration of the new broadway play "orphans" with alec baldwin and ben foster. >> it's like tennis, you want to play with people who are better than you or as good as you. not that i'm that great but you want to go in there with the people who have the same level of experience you ve and i go t there an the quest, the hunt for the perfect show. because when we blow the cue, we know it. almost never do we blow one we don't know it. we'll go back and we knew we blew our cue. >> rose: boston and the new play
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"orphans" when we continue. captioning sponsored by rose communications from our studios in new york
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city, this is charlie rose. >> rose: the boston marathon injured 176. investigators spent the day poring over photos and video footage. they also inspected the remains of a damaged pressure cooker and a damaged black backpack believed to have been used in the bombings. conflicting reports about a possible breakthrough in the investigation have swirled around all day. in mid-afternoon, several news outlets reported a suspect had been arrested. that turned out to be false but a law enforcement source said a suspect has been identified from a security video taken before the bombs exploded. an f.b.i. press conference scheduled for 5:00 p.m. was postponed due to a bomb scare. as of this taping the press conference hasn't taken place. here's a report from the cbs news with scott pelley. >> reporter: sources say investigators are trying to identify a person identified as
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a young white man who was scene in the crowd near the second bombing before the device exploded. a surveillance camera at a nearby lord & taylor department store captured images of the man who was carrying a backpack and talking on a cell phone. sources say he was wearing a black jacket, gray hoodie and a white baseball cap which was backwards on his head. investigators say the man-- who seemed to be alone-- put the backpack on the ground. then when the first explosion occurred at the finish line about a hundred yards down boylston street, he took off. just a few seconds later, the second bomb exploded near where the man had been standing. investigators now are going through cell phone logs to determine who made calls from that location near the time of the explosions. sources say the f.b.i. is working with a list of names of cell phone owners and attempting to match one of those to the unknown man on the surveillance
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tape. sauces say forensic experts will attempt to use facial recognition software and compare the images from the surveillance cameras to photo i.d.s connected to known cell phone users. >> rose: joining me from boston, jonathan elias. he is an anchor for the cbs affiliate wbz television in boston. i am pleased to have him here. welcome. >> thank you, charlie. >> rose: tell me what we know. at this point right now we're waiting to hear from the f.b.i. it's been a very fluid situation and a very fast-paced investigation as far as that goes. my sources with the boston police department are telling me they still don't have a suspect name, they don't have picture yet that they've been given by federal agent bus that could change in a moment's notice. we know they have a lot of tape and pictures that they have gone through and still more to go through to identify who it was that placed that package or those packages in those locations before they were detonated. >> rose: let me drill down on that a bit. what is it you think they have -- they don't have a video of a
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person, but they have what? >> well, they're being very careful about, that charlie. they may have a lot more, they're just not telling anyone anything. the sources i have say when the f.b.i. took this over everything clamped down as far as information so for all we know they have a lot of information and maybe they're very close to an arrest. we just don't know. but you tend to believe that whether where there's smoke there's fire so when you come out with people saying an arrest is imminent, the associated press was putting that out for folks, you have to believe that maybe there's something there. right now we're waiting to hear from the f.b.i. >> rose: so the report that came out-- which happened to be wrong-- were an arrest is imminent, not that a suspect had been arrested? >> exactly. they even said an arrest was imminent and at one point one outlet was saying a arrest had been made. but cbs was guarded in that. cbs was saying an identity of a suspect or potential suspect, person of interest they believe that they have that and they gleaned that from video that i believe they recovered from lord & taylor which is one of the stores that's along boylston
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that apparently had a camera pointing down into the crowd. >> rose: so who believes they have a person of interest? or was that the report that was misleading? >> that was the report that came out. that information still stands. we believe, according to sources and according to the associated press that there is a person of interest that they have identified with videotape. they're not saying it's a suspect but apparently they have video-- this is what's being reported-- they have videotape from the lord & taylor security camera of somebody delivering a package to the area where one of the bombs was detonated and leaving and apparently they've gone so far to say this person had a hoodie on and a baseball cap backwards and they even recovered saying that they saw him on a cell phone which they believe perhaps maybe was the device used to detonate the bomb. again, all of these pieces ar coming together. it's not as clear as we would like it to be and it will be cleared up with a press conference with the f.b.i. >> rose: that press conference will take place this evening?
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we're taping this at 7:15 and this broadcast will be seen in boston at around 11:00? >> we'd like to be it would happen before 11:00. we're led to believe it could happen any time. we're not sure if it was postponed for the courthouse bomb scare that they had. and what happened, charlie, is when word got out that a suspect either had been arrested or the arrest was imminent there were boston police officers that left whatever post they were on or on patrol and headed over to the courthouse to aid in security. but then my source with the boston police department told me that that infuriated him. that this was just spelation that got out, this was not fact and he said "listen, get back to your posts, we want a real strong visible presence of not only the boston police but they have national guard here in our city and they're walking around with assault rifles and they're dressed in their tactical gear and this is done for peace of mind to provide peace of mind for folks that are making their way around boston but also for a heightened state of awareness.
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they didn't want them at the courthouse. >> rose: did not want them there. >> no, and then came the bomb threat and that sort of changed the whole tenor and tone of what was happening outside the courthouse at that time. >> rose: if they have not arrested someone, does that suggest -- what does that suggest to you? >> i really don't even want too take that leap. for all i know maybe they have somebody they're already questioning. >> rose: gotcha. >> the feds when they -- and you know this. when the federal investigators get involved in something they're very tight-lipped for a lot of reasons. one, they don't want information to get out which might scare anybody else that perhaps they want to talk to. they don't want to give tidbits of facts out there because they need those to help work the suspects or the people of interest they're talking to so they're very tight-lipped about this. for all we know maybe they already have somebody we're talking to. >> rose: for all we know they might. let me just go back because i want to nail this down and make sure i'm clear on understanding. there is a -- do your sources tell you that there is a
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photograph of a person that they believe -- >> those aren't my sources. those are widely reported. now, they believe they have caught somebody on surveillance tape from these -- specificically in the lord & taylor surveillance cameras. >> rose: who, in fact, looks like he might have done it or the video shows that he very likely did it? >> the video -- i think what they have identified in the video is this is a person who made their way into the crowd with a backpack or duffel bag and perhaps made their way out of there without it and that was really what they're looking for. i know this have somebody else i was talking to. he was telling me "we're looking for somebody who had an oversized pack or duffel. something that would have housed one of these pressure cookers." a lot of these kids from b.u. and b.c. and a lot of the colleges surrounding this entire event, they come out for this. this is in the middle of their studies. it may be a day off but they
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have their studies so they have their backpack bus these aren't oversized backpacks, you wouldn't see something bulging out like a pressure cooker. snurp you were there at the finish line. >> i was. i was. honestly, i wish i wasn't. >> rose: why do you say that? because you saw things you didn't want to see? >> in the this job you're used to seeing the aftermath of something and by that time there's a layer of sanitized -- i don't know what i'm trying to say. usually you come in the aftermath and by then the pieces have fallen. when we were sitting at that finish line and i remember -- there's details of it i remember like it's happening now. brian foley was the photographer i was working with and seth was our producer. fantastic guys and we're having a blast. the weather was perfect. the race was fantastic. i remember looking up at the score -- the timer and it said it was after the four-hour mark which is what a lot of runners are trying to beat and the folks coming across the line, they
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were ecstatic. we were high fiving them, we were clapping for them. and we were right on the finish line with our backs to the grand stands so the first blast goes off and it was right in front of us. literally right across the street and the percussive nature of this bomb, it shook all of us. you flinch and you kind of duck and then you look up and see that huge cloud of white smoke coming off the sidewalk and we froze everyone around us froze. the second bomb within a matter of seconds goes off and you knew. you knew exactly what was happening. so we started making our way toward that initial blast and, you know, i've got to be honest, i was in a complete state of shock and in my head i wasn't processing things. it was almost as though time was slowing down. and as soon as we got up to the fence there was a layer of fence between the spectators on the sidewalk and the racetrack. i'll never forget that moment. i looked over the fence and it felt like i was standing there for 15 minutes just looking but it was probably a matter of
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seconds and the carnage was just everywhere. from the windows being blown out to the sidewalk. it was nothing but blood and bodies all twisted and intertwined with each other and limbs. it was clear to see that there were a lot of limbs off of people and i think -- there were two things that i remember that stand out. there was no noise. there was no crying. there was no screaming for help. there was nothin it was silent. everybody had that same look that had their eyes open. this was if this far away look as though they weren't in their bodies. they were in complete shock. and their moves were open, their moves were moving like they were gasping for air and nothing was coming out. and this was the scene maybe 15, 20 bodies all right there in front of us. my first thought was "they're all dead." and right in the middle of all of this, smack dab in the center was this -- i remember it was a kid. he was a dark haired -- dark eyed kid. he looked like he was about five
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and he was tting up and he looked like he'd been untouched and the same look on his face, the faraway eyes and his mouth like he was gasping for air and i think it may have been his father or -- it was a man in front of him that was lying over his legs and this man had lost a leg and he was leaned up on an elbow like he was trying to reach up and then he just kind of went back on to his back and rolled his eyes and his mouth was doing that same thing they were all doing. it was just surreal. i don't know -- i heard somebody -- and felt like there was no noise at all and i heard somebody scechling "get back, get back." at thatpoint i don't know what to think. so we back up into the street and i think i said something like "they're dead" or "she's dead" because i remember seeing a woman in horrible shape and then instinctively i was reaching for my phone because it was going off nonstop and i ended up taking a picture and i was thinking this is ridiculous. i'm taking a picture. then i saw the national guard were trying to tear the fences
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to get to these people and brian, the photographer i was working with, he's a big kid, 6'5 and very strong, he runs over and you can tell in the video, the video starts getting shaky, he runs over to grab the fence and help them then i grab his back and we did what we could to peel the fence away. then -- i have to tell you, from the time we looked over the fence to the time we were helping tear down the fence maybe ten seconds and then within another five seconds it was the pandemonium. people were everywhere jumping over from the sides because that was the only way to getting access to these people on the sidewalks. people were just flooding in there to help them and i started seng everyone was being ken care of. the kid was being scooped up and they were running him to the triage tent half a block, maybe a block down the street which was fortuitous. and then i just remember the police came in, they were screaming and yelling "get back, get back, everybody back." so they were pushing everyone back and then they were yelling "this is a crime scene, this is a crime scene, be careful.
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be careful." so we were being now pushed back past the finish line and i remember before we turned back to get out of there, there was an officer who'd come in with one of those packs where they do the air quality testing and he was like a federal agent. he had a gas ma mask out and he's putting touch together quickly and i said "is the air okay to breathe?" and he looked up to me and said ""i have no idea." it felt like time had slowed down. all of our ears were ringing and nothing seemed to make sense. i think the feelings we have now is we're taking ourselves -- both brian and i, you wish there was more you could have done. something. i have to say, my hat's off, people raced in -- there must have been 30 people in that area or stretch of sidewalk helping all of those who were wounded in a matter of seconds. charlie, the stuff we saw, it was horrible, people's -- it was as clear as day people's legs were completely blown off. and you look in their faces and,
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again, no one was crying. no one was screaming. they were in complete shock. >> rose: when you look back, what might you have done different? it seems to me that your response was exactly what you would have imagined you would do. >> i mean, you think to yourself jump the fence, somehow get over those fences. it was three layers of fencing. and i never -- weer to down -- i know when brian put his hand on that fence and started i can't thinking, that thing came down but there were two other fences there, like girders, like a construction girder there. it was very difficult. even the officers ended up running around the entire length of the fencing to get to a place where the fences have been torn down, to get over the sidewalk. i mean it's -- you're a part of this bst, you know? you have this guilt. you have this wish there's something more you could have done and it's a common feeling.
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i've been told it's normal but it doesn't sit well with me or brian either. you have a difficult time coping with this stuff. this is not something you never think you're going to see. and i've seen a lot of bad things in my career but this one just went to the top of the list. >> rose: thank you for sharing that with us. >> okay, charlie. >> rose: thank you very much, jonathan for coming on this program. back in a momen stay with us. joining me now is ray kelly, he is police commissioner of new york city, i am pleased to have him back on this program, welcome. >> good to be with you, charlie. >> rose: what does it say to you that nobody's come forward to take credit for this? >> we've seen this in the past and i know no information who did this right now. but clearly a lone wolf, someone who's doing this off in their basement putting it together. yore not going to get advanced
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notice. the more complex the plot the more likely it is you're going to have intelligence information, the more moving parts there are to it -- to a scheme that you have a greater chance of getting intelligence. but an individual or small group does it, they're not giving any advanced notice. >> rose: this looks like a individual or small group based on the nature of the bomb and everything else? >> the nature of the bomb, sure. but this is a very simple bomb. it's very simple to make bombs these days because the information is everywhere. >> rose: including al qaeda's web site, places like that. >> yeah, well "inspire" magazine came out in 2010. this is anwar al-awlaki and samir khan, two americans in yemen, they put out this online magazine and in the first edition there's an article "how to make a bomb in the kitchen of your mom." now it talks specifically about a bomb in a pressure cooker and it says you can use matchsticks
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to make a bomb. we had an individual by the name of jose pimental who is in jail right now awaiting trial, he did precisely that. he took 600 matchsticks, put in the two or three bombs he made. we had somebody very close to him, he was arrested for it. but it talks in this first "inspire" edition it talks specifically about using a pressure cooker. so these are not complex items. he did it literally by the numbers. he had the papers laid out in front of him and did by the numbers so the genie is out of the bottle as far as making a bomb is concerned. >> rose: how do you protect or try to find those kinds of people? >> with difficulty. obviously we want intelligence information. we want to prevent this as early as possible. we try to get intelligence in a variety of ways. we work with the national assets to help us do that but a lone
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individual working by themselves or a small group very, very difficult to get intelligence. they know that we're out there looking for intelligence and we also think that, you know, with the degrading of al qaeda leadership it certainly has happened. the mission has gone forward of "do what you can." you know? let a thousand flowers bloom. >> rose: exactly. >> you saw faisal shahzad here, the individual from connecticut, he spent some time in pakistan but he comes back and he makes this bomb in his garage. basically drives right into times square, not on anybody's radar screen, this is may 1, 2010 and attempts to detonate it. he sort of outsmarted himself. he dumbed it down. he didn't want to be reported getting the type of fertilizer
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that would have been on somebody's radar screen. he got firecrackers that were not strong enough but it's this sort of mission, go do what you can. to a certain extent even the as is zi case, the individual with his two companyians were going to blow themselves up on the new york city subway system in 2009. the pimental case that i mentioned, another individual, he was very much -- he wasn't talking to too many people at all. he used "inspire" magazine. so what you see is sort of a backing away from the complex integral plots to the much simpler and in many ways much more difficult to detect and identify because there is a lack of -- probably a lack of communication staying away from communicating on the internet, that sort of thing. very sensitive. very aware of the monitoring that's going on. >> rose: what's the level of
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sophistication of being able to look at video, both video and photographs from cell phones today so that you can -- it seems like a lengthy task in order to -- >> there is so much and very difficult to do. in our lower manhattan security operation we have about 4,000 cameras. many of them are smart cameras where we only keep them for 30 days but you can put in what you're looking for. you can put algorithm in and it will come up in -- i'm looking for a unanimous a red shirt who walked in front of that camera two weeks ago at 3:00 in the afternoon. you can do that. so cameras are getting smarter and smarter. but just when you get a pile of cell phones or, you know, security cameras in stores it's very difficult. that's part of the problem. you get -- you know, there's a glut of information out there. >> rose: i'm asking about police technology now. suppose they look at a series of photographs and they have
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identified somebody and suose they can get a picture of a face. what do you do now? >> we have a facial recognition --. >> rose: what is that? >> well, facial recognition is something in our realtime crime center. it's developing. everyone's learning it as we do this but they use certain commuter models but also it takes a visual talent to take out people. you do it from certain angles, that sort of thing. we just had a case where they identified the individual. the ma souza burnings that went on if you remember. this was a week or so ago where we had a picture of an individual, it was a little grainy. >> rose: didn't know who he was. >> didn't know who he was. we were able to identify him based on facial recognition. so it's very challenging. the people who are doing it are learning to a certain extent as they go forward. the they're a talented group and
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we are becoming increasingly successful in our efforts to use it. >> rose: as a result of this happening at the boston marathon how will the new york marathon be different? >> well, that's a good question. we will re-evaluate. i can tell you something that we are doing. we are increasing our inventory of what i'll call temporary cameras significantly. we want to now be in a position to put up cameras for particular events and then take them down and then when another event happens take a light number of cameras and put the cameras in those locations and we do some of that certainly along the marathon route but we'll do a whole re-evaluation. right now there are about 220 cameras along the marathon route but many of them are on the
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bridge. so when you get on to the streets it's a different situation. so we will acquire a significant number of these cameras and position them in appropriate locations, strategiclocations. we'll use this concept at other major events. up? that's my point and next question. does it go without saying that from now on these kinds of events -- yeah. >> rose: you have to double security? >> we'll have additional security and i think one of the things we'll be adding, as i say, is the capacity to have these cameras, cameras -- we never have enough money but cameras have come down in price and the clarity is generally speaking much better. so it's one of the things that we're going to do. >> rose: ray, thank you. >> good to be with you. >> rose: ray kelly, commissioner of police of new york city, new
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york n.y.p.d.. back in a moment, stay with us. >> "orphans is a play" by lyle tesser will. it is the story of two orphaned brothers living off petty thieffully a shabby north philadelphia row house. when the brothers kidnap a wealthy older man and try to rob him, the man becomes their father figure. "orphans" was an off broadway hit to 1985 and made into a movie in 1987. it now debuts on broadway. joining me, the three main characters, ben foster, tom sturridge and alec baldwin. i'm pleased stove them here at this table. welcome. good to see each of you. thank you for coming. how did this come about, sir? >> well, this has been floating around and other people were going to bring it to new york is but there was a workshop production of in the l.a. about six or seven years ago with jesse eisenberg and sean hansy and i went to see that, it was at a very small theater and i
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thought they were going to bring it into town sand then al wound up jumping over and doing again jr. garry and i was mentioning to you a while ago that for me one thing i'm always mindful is is the number of cast because when you pitch ideas to people in the broadway theater it's easier to get a play done if it's a three three-hander or four-hander than a cast of 20 people so i've always been mindful of shows that are small casts. >> rose: and you wanted to work with dan sullivan? >> i've wanted to work with sullivan. i loved this play and then it came together. >> rose: when did they approach you? >> they didn't approach me. i approached them. >> rose: (laughs) is that right? what a way to go. >>. >> i read the play in london a couple of years ago and it was something i totally disconnected just because someone gave it to me and it was something i fell in love with very deeply and i found out alec was going to do it on broadway. originally i called them up and
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said would you be interested in seeing a strange english boy for the part? and they said no. and then very bizarrely my girlfriend was in the hamptons film festival and saw alec and he began talking about this play that he was doing and subsequently discovered that it was "orphans." >> he didn't mention that his girlfriend is sienna miller. so when sienna miller walks up to you at a party and says "my boyfriend would love to audition for a part in yourlay" you immediately go "oh, yes, sienna, whatever you wish." >> rose: and you came in a bit late? >> a bit late. >> rose: how did that happen? (laughter) >> i got a call -- >> rose: are you staring him down, sir? >> i'm trying to. >> rose: yeah, what happened? >> i came in, i read with alec and then it went another way and
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then circled back six weeks, few months later. i'm very happy to get that call. was on thelane the next day, in rehearsal it is following day and now we're in previews. >> rose: that's it? that's the whole story? that's the entire story? >> that's our story. (laughter) >> rose: but you're not sticking to it. tell me what happened. you know there was a change. everybody knows about it. >> well, i think the end the best thing is we ended up with the people we've got. >> rose: fair enough. >> but, you know, people come and you -- for me i know that i need things in my life now to be easy. if it's hard i'd rather not work. i'vead enough hard in my life and in work and if it gets to be difficult and i think's a supposition that someone was fired. i think more accurately i said to them "if you want to do it with him, do it with him, but then i'll go." it made no difference to me because for me i don't care
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about my job now. i don't. if you called me tomorrow and said "here's the greatest role, we'll give you twenty million bucks and you'll be riding a horse into battle with spielberg" and i was going to have a bad time i wouldn't do it. i want to enjoy my life. i'55 years old tomorrow, it's my birthday. >> rose: happy birthday. >> and for me i want it to be -- i want to work to be pleasant. >> rose: so you don't even think -- do you think about -- what considerations are there other than pleasantness? the absence of discomfort? >> well, if there's a great role with great people and the film if it's a great director. you can't make a good film without a good director. in the theater there's a lot of considerations that don't exist outside the theater and you have to get a house, everybody bitches about how tough broadway is but you can't get house ever. all these producers like jeff richards and cole and the guys we've been working with they gobble up the rights all the time. rights are tough. cast is tough. getting these guys wasn't easy, it was tough.
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and so you get all those essentials put together the same as you do in the movie business but if i go and it's going to be difficult unnecessarily i'd rather go home. >> rose: but you want to come home to theater. >> i want to come back and do a play because it's so unique in the sense that by -- i did a t.v. show and we got very lucky for those seve seaso andt was ry well writt, it was very smart. but typically most of the stuff i've done in film and the bulk of my work in television was that one show so the work i've done in film the writing was okay. some of it good, some of it bad. most of it mediocre. when you a play you say this is something a tremendous amount of thought went into. williams, o'neill, chekhov, this is where the material is good. greg mozier said this when we did "streetcar." he said "we know when the material works so if we bomb it's us." >> rose: (laughs) it's been testedefore. i just -- in reading about you,
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people talk about your voice. do you -- are you aware of that and what it's done for you if it has? does it? >> i find a lot of people have worked with over the years and helped me like in the theater you have to do a lot of it with your voice. there's a lot of -- because you're not in here, if you're in here -- great film actors there's an economy and you struggle hard to develop that if you can. but when you're in the theate if people are 40 or 50 feet away there's a lot you have to do with your voice. you have to be able to talk in a way he has a laugh line every night where he says "i'm not prejudice, i'd say that to a blank or a blank." the racial line. and that line should work if you start with "i'm not prejudice, harold." they've got to hear that. but there's always in the theater -- the heavy lifting is done by the actors in order to pull the audience where you want to go. >> rose: do you find that true? this is the first time you've
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been on broway. >> this is theirsttime i've be on broway. i've done theater in london but it is extraordinary how different so far the experience has been. >> rose: how so? >> well, because i think american audiences are so much more vociferous and kind of -- literally it feels like i imagine kind of elizabethan theater would have been like. >> rose: engaged? >> massively engaged. so responsive to minutia and -- and i think when i first thought this play -- and still now i took it -- i feel it's -- it's a dark serious play but literally the first preview -- and you know the things have changed but the first preview it felt like we were doing a live recording of "seinfeld." it was -- it was astonishing. >> we were shocked. >> rose: did you feel that? >> i was stunned how much they laughed. i had it calculated that a third of the play was funny and two-thirds of it was dark, absurdist, tragic, something more on a dramatic key and we
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came out of the audience and flipped it around. >> rose: let me talk about the characters. who is treat? (laughs) i know you are but who is he? >> treat's been raised in -- >> rose: what are you testing he? >> you know what? we've been rehearsing all day, i've got a show tonight, i'm surprised to be sitting. >> rose: i'm glad you are, thank you. >> i play his older brother we lost our parents when we were young, in and out of correctional facilities and is now a thief, a stick-up man to pay for the tuna fish. >> rose: that your brother loves. >> pardon? >> rose: that he loves. more than anything, how he behaves around his brother is somewhat -- perhaps he doesn't show the kind of encouragement or love or connection that one would hope for in a family. but it's the best that he can do. >> rose: that's interesting because when he comes into the situation he shows that kind of
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thing that you hadn't shown. >> and probably hadn't experienced and so much is in the title. it's about family and how we take care of or don't take care of those people who that are closest to us. >> rose: that's what it's about? >> love and lack thereof with the family. how we make our own families or how weose it when it's too late. >> rose: and how much we need it who is phillip? >> phillip is treat's judger brother. his most dominating characteristic is he's been in a sense incarcerated in his house for essentially the last 15 years when the play begins. because he's been persuaded to believe that if he goes outside he will tlq a fatal allergic reaction to the outside world and so he's a boy -- a young man whose entire concepts of the world is based around the four walls of the house, the television and his brother.
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>> rose: and later he's given a map. >> and later he's given a map and the keys. >> rose: and then you arrive. >> i was so hoping that the two of you would have played that game with me where charlie said "who is treat?" and you would have said "well, treat is the central figure in the play." who is phillip? well, fill slip the central figure in the play. >> rose: (ughs) en w'd have a debate here. >> harold, to me, is someone who i've chosen-- and this has been a wonderful thing because i'm more comfortable now doing because i have a lot to evolve whether i got it right or not and i tried to think who did he remind me of? i thought maybe like my dad, someone who had a code and you didn't bargain with him and he was very comfortable. he was a high school teacher and coached to supplement his income but i go in there with these guys and try to play it like there's rules i want you to learn and part of it is i don't want you to end up the way i
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did. that's how we they eventually but -- end up the way i do. but i also think that for me, for this character and for them it's that thing in life where you come to a place that you never dreamed you would get something you wanted and the setting was not what you would imagine. but let's say you're married and divorced and you go through a path in your life and you wind up getting to a place that's the most unlikely setting, the people you're with, but you wind up getting everything you want, which is kind of like my life right now. i've arrived in this place in my life where i have everything i want. >> rose: both professional and personal. >> my personal life is bliss. i'm as happy as i've ever been in my life. >> rose: is that because you've found the right woman? >> oh, yeah, yeah, yeah. it's solely about that. we're going to have a baby in august. but i think that i was living in
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one place and i moved and there's so much change in my life but i turned around and go "nothing is recognizable, nothing is familiar but i have everything i wished for around i think narld this house, something to recognizable and something to a familiar." he's a guy with money, he lives in chicago, he's a gangster who's got the grease and now he's in this weird little house with them but there's a thing harold wanted that's put been in his life is to have a family and to have -- >> rose: and he wants to educate them. >> yeah. the thing harold was missing in his life that i think he longed for d that opportuny comes here. >> rose: he means a lot to you, your character, phillip. >> yeah, he becomes astonish important. >> rose: because? >> i think because he opens phillip's eyes to the reality of the world. >> rose: the world outside the four walls. >> exactly and the potential for life and -- >> rose: and within himself.
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outside the four walls and within himself. >> exactly. to be facile about it, he's an extraordinary teacher. >> rose: help us understand the scene in the map where you tell treat "you never gave me a map, treat. you never told me i could find my way." that scene about -- >> wow, well, that scene is toward the end of the play and it's the moment where phillip who has been thus far unable or unwilling to articulate how he really feels is suddenly through a variety of reasons is prepared to and he says he says who he is and what he wants and how he feels he has been mistreated. >> rose: you have a bunch of movies coming up. at least two, right?
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>> we have one survivor based on the navy seals team, "kill your darlings" based on the beats. >> rose: who do you play in that? >> william boroughs. >> rose: that's what i thought, yeah. >> i was aghast. >> rose: (laughs) i can imagine. and one more called "infant body saints." >> rose: where do you fit theater in? >> this was the first place i've done since i was a child in iowa the learning curve has been steep but. >> rose: what has been steep about it? what have you had to pick up on so fast? >> well, as alec was talking about the economy of film acting and if you have any kind of success president he says ben, we're so close if you think it, we'll see it. and theater is like surfing.
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it's an interface of attention and you can feel a coherence of actors when we're tuned in together. you can feel an audience when they're tuned in. it's a give-and-take and being much more available to that exchange. that exchange is the learning curve, how to surf. >> and how do you acquire -- i mean is it -- you ask alec about this? do you talk about is? what's the process of riding up that lader? >> well, i couldn't be in better company and very open about it. not knowing and allawi lech has given me tremendous advice. and tom. i could not be in better hands saying you can't turn your voice into the door. it could be that simple. or it's about us collectively breaking down a scene and getting down to the very -- the veins of it. collectively rather than in film there's so much privacy. we do our home work by
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ourselves. here we do it together. >> but the story also when he was speaking before reminds me that there is a kiss in this like a fable, like a fairy tale. the idea that the boy's been in the house and he's never gone out. this is a little bit gothic that the kid's never left the house all these years. >> rose: he's never been given the confidence to do it. >> but it's done so beautifully. lyle's writing is beautiful. >> rose: this really is a reset, though, for you, isn't it? >> after the t.v. show i originally wanted to do the television show to have a reliable schedule because of my visitations with my daughter. i was in new york, my daughter was in l.a. i would fly every other weekend to see my daughter when she was very young and i went to lauren and said "if you can help me maintain that schedule i'll do the t.v. show." he did. lauren was my great, great champion and friend and we did it for seven years and i never dreamed that it would be received the way it was and
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people would like it even though we had relatively modest audiens beg on nbc at that time people liked the show. then when it was over i said i want to do a play. the t.v. show, people turn the t.v. on at 8:00 something has to come on. it's like a sausage factory and 30 rock had gifted writers which was capable of producing. but this is something we can take our time. it's more like lining up golf shots here. >> rose: you said lorne michaels was always there trying to help you but if he asks you to host "saturday night live" you go, don't you? >> if >> if i'm available and if i haven't done in the a while. >> rose: a sense of your own rhythm? >> well, the older i get. with "saturday night live" when they do really well is when -- and they have had that resurgence where they have the younger hosts so i think -- i'm not sure but i wonder if my days of hosting the show are over.
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they need justin timberlake and other young star which is many don't want to do. >> rose: why not? >> i don't think it exposes them in a way. >> rose: they're not willing to be made fun of or to do things that might not be -- >> and to make an ass of yourself. you have to get thrown in the dunk tank. >> and they have consistent ratings, "saturday night live," dorr they go up and down? >> rose: they go up and down. does it depend on the host or not? >> i think other shows make a run at lorne, they try to get that 11:30 saturday slot and put up stuff against him and the show becomes less popular for whatever reason then goes back up again. >> rose: the whole notion of being prepared to have people laugh after you, that doesn't bother you, does it? >> (laughs) i think that when you -- when i did s.n.l. the first time someone said to me "you're either an iconic movie star in
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the vein of stallone or schwarzenegger where we're going to make fun of your personality. if that's not the case you need to become a member of the company and do what we do." and i realized right away that was a great tip someone gave me and i had to become -- do characters and things with them and they weren' goi to make fuof my career because i wasn't that iconic in their sense, in their definition so i went in and became a member of the company and i got invited back again and again. >> rose: but i mean i think even beyond that. it seems to me to know a bit about your career that you've been willing to make choices you've been almost unafraid to make choices that other people might have said the other way is more lucrative, the other way offer mrs. easy promise, the other way is a softer direction. you're willing to take the hard choice. >> i think that -- >> rose: or even the risk. >> well, i remember i was in a -- living in los angeles in the '90s and i was much younger and the movie business as s a young man's game for the most part. those are the great roles that
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come your way typically. when you're under 50, even into your 40s. and i was out there and i was having meets with people and i don't begrudge them. this is not a judgment of them but i was sitting with them talking to them and they were saying to me in whatever language "do this and this and this movie with us and trust us to make these choices for you and you' behe biggest movie ar in the world." and from an actor's standpoint you're not going to have any satisfaction. you'll be in the cockpit of a jet fighter, bombing eshlg iraq. >> rose: you'll be in a huge international star. >> but you're not going to -- rob reiner used to say i'd have a courtroom speech in the medgar evers murder trial and he'd say will you do it again? and i'd say sure. when you have a good piece of material you don't mind doing it over and over again do you because in your next movie you're going shoot all day and for the whole day you're going to have one line "get down! everybody get down!" >> rose: (laughs)
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that's not what you're looking for, is it, tom? >> just one step at a time right now. "orphans." >> rose: it's not even a career now. you just think about is there work i want to do? >> yeah. i mean, in a weird way i think when you're kind of -- when you have no career -- and in a sense -- >> rose: career a bad word. >> you have almost more freedom i can afford to take my time and find the things that i think i can -- rose: who's had the most influence on you in terms of the craft? >> i think the directors that i've worked with. if the first film i ever did was directed by a hungarian director and he kind of -- that was my education in acting and from then on every director i've worked with has been -- it was something i didn't do.
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>> rose: because it happen because you seek them outtor way they instruct you to bring out the best in you? >> i think as i've got more savvy i've thought out people who will give me great instruction but i think -- i mean one of the things that's extraordinary about the film industry, unlike any other industry, is that as a young person you can be working with the greatest writer in the world greatest cinematographer in the world, greatest director in the world and be a valuable person within that machine. i can't think of in m other jobs where the novice will be asked a question by the most o tour and that question is known for being so important. >> that was amazing. >> rose: it was good. where are you, then, in terms of -- you're doing both there. you're on broadway, you have three films coming out. you're just enjoying the work?
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>> this is -- as tom said this is all we can focus on. i dream of rehearsing. that's what i dream about, going into rehearsal, then performing, then sleep, then rehearsehen perform. >> rose: preparation and practice. because it's getting to the point where you want to be and if you have some sense of how you can be you want to get there. >> you're never done. >> rose: you know what we're talking about, alec? >> well, i think what that what i love is that first of all two things-- and i don't they to be kind-- he's doing such a great job and i don't mean just coming in and the way it went down. he's doing a great, great job and he's doing a great, great job. and when you go out there and you'reot enjoying doing it with people because it's like tennis, you want to play with people that are better than you or as good as you. not that i'm that great but you want to go with people who are the same level of experience you have and i go out there and the quest, the hunt for the perfect
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show. because when we blow the cue, we know it. almost never do we blow a line that we don't know it. >> rose: you came in too fast or you stepped on his sflen >> you transposed a line, made up a word. we have a program and the give us oblownue an they'll say "you deleted this, you substituted this." so they -- when we come off stage that idea of going out each night-- it's still a bit early for this-- we're having the perfect show. they say it as written, they feel good, when it all comes together, that's the greatest experience in this business. none greater than that. i always have this tiresome analogy, to ride the wave all the way to the shore. you ride it all the way. >> rose: you can't feel that in film, i guess, because you're shootingt in -- >> it's airecr's medium. film is a director's medium. >> rose: and broadway is awriter's immediate sglupl t.v. is a writer's medium.
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>> and theater is not so much an actor's medium but more foren the t actors than any other medium, i think. but the interesting thing was i had someone say to me once-- and he was very smart-- because of the television show being popular in certain areas he said you're at an awkward stage in your career. he said people laugh at whatever you say even if it's not funny. i would literally host an event, you're here, with for the cancer whatever and i say "good evening everyone." they burst out laughing. i say good evening. >> rose: i'm alex baldwin. >> well, i'm alec baldwin. i'm alec baldwin and good evening. titter, titter. and so when we come and do the show i was worried about that that i would bring into it this kind of comedy groove that comes in with me. >> what's happened is we've
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gotten better, myself, we just stay with it. do the play, do the play, do the play. learn when and these moments are very difficult to pull off we're almost saying don't laugh at that. follow us to here. that's what previews are for. >> it's so much about alec. he is a powerful force. his presence is undeniable. but when he looks at you and is giving you love and encouragement you can't help but feel and the audience is receiving that in a very serious way. it's an astounding experience. >> the idea of the commercial -- i don't know this. you give all the money from the commercials you make to charity. >> that was the deal that i made. that was arrangement i made. i had -- i don't think a bidding
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war but i had two companies come to me saying "would you do on camera commercials for us" and i said but there's an amount of money i need to get to make it worth my while because we need a small pile of artistic credibility i have left and doing on camera commercials is not a goal of most actors so if you would pay me x and capital one stepped. they have been the greatest people. i'm so grateful. >> rose: you've given millions away. >> they've paid me $10.5 million and i've given it all the away. >> rose: symphonies. >> environmental, medical, symphoes. two-thds t art i gave a million to n.y.u. three times. a couple million to the philharmonic. >> rose: did you then say look, i realize i might be in some ways ridiculed because i'm doing this but if they'll pay me $10.5 million i'll overcome that and $10.5 million will do a lot. >> lorne was very smart that way. lorne said to me when you're on t.v., you're on t.v. you can't dress it up any other
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way. he said when i was debating whether to do that lorne said it would be the time to do it. when you're off t.v. don't do it. so the contract is ridden almost parallel with 30 rock's life and whent ends i don't do it anymore. but it's worked out well. this makes you wish you were bloomberg or perlman or a lot of people we know. >> rose: because it shows you the potential. >> you can change lives and really help them. >> rose: thank you for coming. thank you for joining us. see you next time.
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